Citations:oxybarys


 * 1972, A Wake Newslitter, University of Essex Department of Literature, new series, volumes IX–XIII, page 124:
 * From the physical point of view oxybarys symbolizes the synthesis (‘tesseract’, […]
 * 1999, J. Ritter Werner, “Midrash: A Model for Fidelity in New Media Translation” in Fidelity and Translation: Communicating the Bible in New Media, eds. Paul A. Soukup and Robert Hodgson, Sheed & Ward ISBN 0826700365 and the ISBN 1580510396, chapter x, pages 181–182:
 * Melodic inflection is graphically noted in the ancient manuscripts with extra-lexical marks invented by Aristophanes of Byzantium (c. 257–180 B.C.). The three accents are the acute, the grave, and the circumflex. [¶] Of the three the acute accent (oxytone) is the master tone (ho kyrios tonos); its higher pitch has primacy (Stanford, 1967, p. 151). In modern music terminology, a syllable that is sung on a higher pitch possesses a tonic accent. The grave accent (brytone) is the default tone; its low pitch is assigned to all unmarked syllables, or to syllables that lose their acute accent in context. In all cantillation traditions this “default tone” is called the reciting tone or tenor. The circumflex, variously called ditonos, oxybarys, symplektos, or peristomenos (Allen, 1987, p. 122), is the most melodic; it combines the acute and grave accents over ultimate or penultimate […]


 * 1974, Atti del Third International James Joyce Symposium: Trieste, 14–18 giugno 1971, Facoltà di Magistero dell’Università degli Studi di Trieste, page 370:
 * […] la sintesi del tono impetuoso, dell’accento acuto e del tono profondo, dell’accento grave, una sintesi chiamata «acutograve» (oxybarys) o «suono congiunto» (koinon stoicheion) dai grammatici di ispirazione stoica.